WIL CIFER’S TOP 10 MOST ANTICIPATED ALBUMS OF 2022

 Forthcoming Albums  No Responses »
Jan 112022
 

(Wil Cifer has decided to share a Top 10 list of expected 2022 heavy albums he’s most looking forward to at this point.)

My ouija board told me Islander wanted anticipated album lists so I began tapping at my keyboard.

A few of these on my list are albums I am giving you the heads-up about. The bulk of these are metal or metal-adjacent artists. There are some mopey depressive rock artists I am looking forward to with equal excitement, as Placebo, The Cure, Tears For Fears, and Morrrissey all have albums pending this year. But the top ten list ranked-off here are the harder varieties I am most anxious for. I have also included how confident I am of their release and my faith in the quality of the pending work. Continue reading »

LISTMANIA 2021: WIL CIFER’S TOP 20 METAL ALBUMS OF THE YEAR

 LISTMANIA 2021  6 Responses »
Dec 222021
 

 

(Long-time NCS contributor Wil Cifer weighs in here with his picks for the favorite Top 20 metal albums of the year.)

There are voices that cry out against lists such as these, saying music is subjective, and its merit cannot be measured . The obvious flaws with this might include highly derivative artists who are tribute bands trying to pass off songs as originals. The real measuring stick for a great album is songwriting. Do the songs get stuck in your head, finding you returning to them with a craving to hear more? How well music stands up over the course of time is another, though an end of the year list is not the best unit of measure since they have so far only endured 12 months at most.

My Last FM determined how much I actually listened to an album. Writers want our lists to appear as cool as all the other writers because the Corpse Painted Butt Plug demo is on it, but if I only listened to it once how inspiring could it really be? Sounding brutal is the easy part, you only need the right gear and producer, but writing songs is more telling . A rip your face off guitar tone might hold my attention for the first song, then after that the question is … but can you write a song? Continue reading »

HYPOCRISY: “WORSHIP”

 Album Reviews  3 Responses »
Dec 092021
 

 

(Here is Wil Cifer‘s review of the new Hypocrisy album, which was released on November 26th by Nuclear Blast.)

This album deserves some love.

As a kid in the ’80s the Devil seemed dangerous to me.When bands like Deicide and Morbid Angel came out the darkness felt more tangible. While what they say about metal being the gateway to Satanism is apparently true, since 36 years later I am even more devoted to the Left Hand Path, and not the Entombed album, I can see where the concept of Ole Scratch has lost the danger it once held. Thus a band like Hypocrisy seems even more vital than they did in the ’90s by releasing an album about conspiracies.

Pentagrams are a fashion statement, government plots involving other-dimensional beings scares a larger audience as if an institution is going to conspire about aliens. What else might they not be truthful about? Thus the lyrical content of Worship gives a heavier feel to the music as a whole. Continue reading »

CYNIC: “ASCENSION CODES”

 Album Reviews  3 Responses »
Dec 072021
 

 

(We present Wil Cifer‘s review of the new album by Cynic, which is out now on Season of Mist.)

It was surprising to find Paul Masvidal carrying on the torch of Cynic after the death of both Sean Malone and Sean Reinert. It seems this is how he is coming to terms with it.

The tone of this album suggests he took some DMT and used aliens as his support group for this sonic therapy. Normally lineup changes of this magnitude give me pause when going into an album but a few things regarding this one gave me more reassurance, such as the fact that drummer Matt Lynch who plays on this album was recruited by Masvidal and Malone, before Malone’s death. Rather than replace Malone, the bass lines are played on a bass synth, since his style of playing was untouchable. This picks up closer to where they left off with Traced in Air as it is a return to the heavier sounds that preceded the elf-like prog of Kindly Bent to Free Us. Continue reading »

CONVERGE AND CHELSEA WOLFE: “BLOODMOON: I”

 Album Reviews  1 Response »
Nov 232021
 

(Bloodmoon: I, the new collaborative album created by Converge alongside Chelsea Wolfe, her bandmate/writing partner Ben Chisholm, and Cave In vocalist/guitarist Stephen Brodsky, is out now on CD and across all streaming platforms via Epitaph Records, with a vinyl edition coming next year. Wil Cifer provides the following review.)

When one of my favorite artists releases an album, you might assume I listen to it for the first time in a blissful state gushing how they can do no wrong. Perhaps this is what neuro-normative people do. I am not one of those. Instead, my expectations are so high that I go into it anxious that they are going to let me down and tarnish their pristine legacy. Why am I explaining this to you?

One, this is not merely one of my favorite artists but a collaboration between two of them. I have been listening to Converge since the ’90s so we have more history, but Chelsea Wolfe‘s career I have championed for over a decade now. One friend of mine sent me a link to their earliest collaboration at the Roadburn Festival where this collaboration first spawned from and said:

“Chelsea Wolfe jamming with Converge is one of the most Wil things ever”. Continue reading »

GLASSING: “TWIN DREAM”

 Album Reviews  No Responses »
Nov 032021
 

(Here’s Wil Cifer‘s review of the new album by Austin, Texas-based Glassing, which will be released on November 5th by Brutal Panda Records.)

At first you think …ok, this is a sludge album with a great deal of post-rock atmosphere, not an uncommon sub-genre these days. While that might be in play on the opener, there is a great deal of powerful heaviness that hits you outside the sonic scope of sludge. Angular twists and turns as well as sections that pound at you like an angry hardcore band, or I suppose screamo, since that tends to blend its sonic texture more in this direction. The scathing scream of the vocals meets somewhere between black metal and screamo.

When the kind of spastic chaos is expressed in say grindcore, the results are more abrasive. Here everything flows very smoothly. That is not to say that Glassing aren’t at times hyper-aggressive. This is a very heavy album, just heavy sonically. It falls outside the meaty chugs and blast beats most of the bands we cover here deal in, yet I am sure Islander will agree that my niche here is bringing bands on the fringe of metal into the spotlight. Continue reading »

IRON MAIDEN: “SENJUTSU”

 Album Reviews  3 Responses »
Sep 062021
 

 

(Here’s Wil Cifer‘s review of the new Iron Maiden album, which was released three days ago.)

The unholy trinity of Black Sabbath, Judas Priest, and Iron Maiden spawned all metal since their influence trickled down to Metallica, Slayer, Bathory, and pretty much anyone wearing a bullet belt since then. Now with album 17, Iron Maiden comes back stronger than ever after a six-year hiatus from the studio. I assumed The Book of Souls was going to be their last album, and even after hearing the single for “The Writing on the Wall“ I was not expecting a double-album worth of material.

When I press play on any Maiden album since Brave New World my immediate worry is what shape is Bruce‘s voice going to be in? Now that he’s at age 63 this is an even more legitimate concern given the fact that his leather-lunged voice is a defining staple of their sound. This is put to rest after hearing how Bruce belts it out on the title track that opens the album. Given that the producer was Kevin Shirley, who worked with Rush, Dream Theater and Journey, another surprise is how beefy the guitar tone is — though Steve Harris co-produced, so I am sure breathing over his shoulder every step of the way. “Stratego” that follows is even more of an urgent headbanger and has its boot firmly on the monitor. Continue reading »

RUIN: “SPREAD PLAGUE DEATH”

 Album Reviews  No Responses »
Aug 022021
 

 

(Wil Cifer reviews the new third album by the California death metal band Ruin, which will see release on August 27th on 12” vinyl by Nameless Grave Records, on cassette through Nero One Records and Death Metal Cult, and on CD through Goat Throne Records.)

Death metal should be the sonic equivalent of the kind of aggression that possessed Charles Manson’s hippie love slaves when they carved the baby from Sharon Tate’s womb. That is the same vibe I hear when listening to this album. There is not a bunch of pulp horror posturing but real violence from the hateful heart.

This cult of deviants is back with a nastier and grimmer offering, which is impressive, as I really loved Human Annihilation. These miscreants deliver the kind of dense heaviness they are known for, but this time around the songwriting has more attention to detail and the playing is more musical with actual guitar melodies wallowing in the murk. Continue reading »

CRYPT CRAWLER: “FUTURE USURPER”

 Album Reviews  No Responses »
Jul 222021
 

 

(This is Wil Cifer‘s review of the second album by the Australian band Crypt Crawler, which which was first released in June 2021 (digital and CD), with a vinyl release set for August 6th via Bitter Loss.)

Death metal often worships at the altar of era. Roots in the genre’s beginnings give a needed reverence when creating new offerings, though this should not lead to a slavish devotion that creates cover bands.

This Australian band set themselves apart right from the bass riff leading into the opening song (“The Mouth of Death”). They also avoid creating a sonic monochrome of hyper aggression. This track might warrant the label progressive death metal, if the term goes beyond a tendency to obsess over wanky mathematics. The more adventurous side of their songwriting is at times subtle and their aggression rooted more in a taut thrashing. Continue reading »

KING WOMAN: “CELESTIAL BLUES”

 Album Reviews, Exceptions to the Rule  1 Response »
Jul 192021
 

 

(This is Wil Cifer‘s review of the new album by San Francisco-based King Woman, which will be released on July 30 by Relapse Records.)

Unlike the interviews of the average metal band Kristina Esfandiari does not say this album is going in a much heavier direction than our first one, she just does it. The band’s first full-length, Created in the Image of Suffering, was heavy only by the sheer magnitude of melancholy churned from the sludgey blues it summoned. This new album, Celestial Blues, not only bears a greater emotional weight but carries a more metallic malice.

Sure many of the riffs are depressing at times, which I of course love since darkness and sonic heaviness are what I seek out in music. They lure you in with the introspective title track, teasing a few punchy dynamics. Then slowly the aggression begins to leak from the cracks of the songs. Continue reading »

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